徳永 留美

In this study, we propose a method to estimate oxygen saturation by selecting the best bands from video images captured by a multiband camera. Oxygen saturation is one of the most important bioindicators for measuring human health. For example, when a person contracts COVID-19, which is currently prevalent, oxygen uptake does not work properly and oxygen saturation drops without the person being aware of it, which may lead to severe symptoms. Monitoring oxygen saturation is very important so that the person receives treatment before such a situation occurs. The commonly used contact sensor is uncomfortable because of its pressure and it is difficult to wear on a daily basis, so non-contact estimation of oxygen saturation is desirable. To estimate oxygen saturation using a contact sensor, the difference in the absorption coefficients of oxidized hemoglobin and deoxidized hemoglobin is used. Using the same principle, it is possible to estimate oxygen saturation without contact using the signals from two channels obtained by an RGB camera. Currently, many smartphones are equipped with infrared cameras for face recognition, and increasingly more models are equipped with multi-camera systems consisting of RGB and infrared cameras. In such cases, it is difficult to take advantage of the multiple bands because the optimal combination of bands for oxygen saturation estimation varies depending on the imaging environment and the subject. In this study, to select the optimal combination of bands from multi-band video images, we used a Monte Carlo simulation of light scattering on the skin to simulate pulse waves during oxygen saturation changes while measuring the signals with a multi-band camera. We further propose a method to select the most accurate combination for estimating the oxygen saturation based on the features obtained from the pulse wave.

Previous claims of the number of color categories and corresponding basic color terms in modern Mandarin Chinese remain irreconcilable, mainly due to the shortage in objectively evaluating the basicness of color terms with statistical significance. Therefore the present study applied k-means cluster analysis to investigate native Mandarin Chinese speakers' color naming data of 330 color chips similar to those used in World Color Survey. Results confirmed that there are 11 basic color categories among modern Mandarin speakers in Taiwan, one corresponding to each basic color term. Results also showed that observers overwhelmingly agreed in their use of Mandarin color terms, including those that had yielded ambiguous results in previous studies (gray, brown, pink, and orange). There is significant cross-language similarity when comparing the distribution of color categories in the World Color Survey chart with American English and Japanese data. The motif analysis and group mutual information analysis suggest that Mandarin color terms used in Taiwan describe very similar categories and are, hence, similarly precise in communicating color information as those in Japanese and American English. These results show that three languages of fundamentally different cultures and histories have very similar basic color terms.

Despite numerous prior studies, important questions about the Japanese color lexicon persist, particularly about the number of Japanese basic color terms and their deployment across color space. Here, 57 native Japanese speakers provided monolexemic terms for 320 chromatic and 10 achromatic Munsell color samples. Through k-means cluster analysis we revealed 16 statistically distinct Japanese chromatic categories. These included eight chromatic basic color terms (aka/red, ki/yellow, midori/green, ao/blue, pink, orange, cha/brown, and murasaki/purple) plus eight additional terms: mizu ("water'')/light blue, hada ("skin tone'')/peach, kon ("indigo'')/dark blue, matcha ("green tea'')/yellow-green, enji/maroon, oudo ("sand or mud'')/mustard, yamabuki ("globeflower'')/gold, and cream. Of these additional terms, mizu was used by 98% of informants, and emerged as a strong candidate for a 12th Japanese basic color term. Japanese and American English color-naming systems were broadly similar, except for color categories in one language (mizu, kon, teal, lavender, magenta, lime) that had no equivalent in the other. Our analysis revealed two statistically distinct Japanese motifs (or color-naming systems), which differed mainly in the extension of mizu across our color palette. Comparison of the present data with an earlier study by Uchikawa & Boynton (1987) suggests that some changes in the Japanese color lexicon have occurred over the last 30 years.

Colour constancy needs to be reconsidered in light of the limits imposed by metamer mismatching. Metamer mismatching refers to the fact that two objects reflecting metameric light under one illumination may reflect non-metameric light under a second; so two objects appearing as having the same colour under one illuminant can appear as having different colours under a second. Yet since Helmholtz, object colour has generally been believed to remain relatively constant. The deviations from colour constancy registered in experiments are usually thought to be small enough that they do not contradict the notion of colour constancy. However, it is important to determine how the deviations from colour constancy relate to the limits metamer mismatching imposes on constancy. Hence, we calculated metamer mismatching's effect for the 20 Munsell papers and 8 pairs of illuminants employed in the colour constancy study by Logvinenko and Tokunaga and found it to be so extensive that the two notions-metamer mismatching and colour constancy-must be mutually exclusive. In particular, the notion of colour constancy leads to some paradoxical phenomena such as the possibility of 20 objects having the same colour under chromatic light dispersing into a hue circle of colours under neutral light. Thus, colour constancy refers to a phenomenon, which because of metamer mismatching, simply cannot exist. Moreover, it obscures the really important visual phenomenon; namely, the alteration of object colours induced by illumination change. We show that colour is not an independent, intrinsic attribute of an object, but rather an attribute of an object/light pair, and then define a concept of material colour in terms of equivalence classes of such object/light pairs. We suggest that studying the shift in material colour under a change in illuminant will be more fruitful than pursuing colour constancy's false premise that colour is an intrinsic attribute of an object.

The appearance of colors can be affected by their spatiotemporal context. The shift in color appearance according to the surrounding colors is called color induction or chromatic induction; in particular, the shift in opponent color of the surround is called chromatic contrast. To investigate whether chromatic induction occurs even when the chromatic surround is imperceptible, we measured chromatic induction during interocular suppression. A multicolor or uniform color field was presented as the surround stimulus, and a colored continuous flash suppression (CFS) stimulus was presented to the dominant eye of each subject. The subjects were asked to report the appearance of the test field only when the stationary surround stimulus is invisible by interocular suppression with CFS. The resulting shifts in color appearance due to chromatic induction were significant even under the conditions of interocular suppression for all surround stimuli. The magnitude of chromatic induction differed with the surround conditions, and this difference was preserved regardless of the viewing conditions. The chromatic induction effect was reduced by CFS, in proportion to the magnitude of chromatic induction under natural (i.e., no-CFS) viewing conditions. According to an analysis with linear model fitting, we revealed the presence of at least two kinds of subprocesses for chromatic induction that reside at higher and lower levels than the site of interocular suppression. One mechanism yields different degrees of chromatic induction based on the complexity of the surround, which is unaffected by interocular suppression, while the other mechanism changes its output with interocular suppression acting as a gain control. Our results imply that the total chromatic induction effect is achieved via a linear summation of outputs from mechanisms that reside at different levels of visual processing.

Contrary to the implication of the term "lightness constancy", asymmetric lightness matching has never been found to be perfect unless the scene is highly articulated (i.e., contains a number of different reflectances). Also, lightness constancy has been found to vary for different observers, and an effect of instruction (lightness vs. brightness) has been reported. The elusiveness of lightness constancy presents a great challenge to visual science; we revisit these issues in the following experiment, which involved 44 observers in total. The stimuli consisted of a large sheet of black paper with a rectangular spotlight projected onto the lower half and 40 squares of various shades of grey printed on the upper half. The luminance ratio at the edge of the spotlight was 25, while that of the squares varied from 2 to 16. Three different instructions were given to observers: They were asked to find a square in the upper half that (i) looked as if it was made of the same paper as that on which the spotlight fell (lightness match), (ii) had the same luminance contrast as the spotlight edge (contrast match), or (iii) had the same brightness as the spotlight (brightness match). Observers made 10 matches of each of the three types. Great interindividual variability was found for all three types of matches. In particular, the individual Brunswik ratios were found to vary over a broad range (from .47 to .85). That is, lightness matches were found to be far from veridical. Contrast matches were also found to be inaccurate, being on average, underestimated by a factor of 3.4. Articulation was found to essentially affect not only lightness, but contrast and brightness matches as well. No difference was found between the lightness and luminance contrast matches. While the brightness matches significantly differed from the other matches, the difference was small. Furthermore, the brightness matches were found to be subject to the same interindividual variability and the same effect of articulation. This leads to the conclusion that inexperienced observers are unable to estimate both the brightness and the luminance contrast of the light reflected from real objects lit by real lights. None of our observers perceived illumination edges purely as illumination edges: A partial Gelb effect ("partial illumination discounting") always took place. The lightness inconstancy in our experiment resulted from this partial illumination discounting. We propose an account of our results based on the two-dimensionality of achromatic colour. We argue that large interindividual variations and the effect of articulation are caused by the large ambiguity of luminance ratios in the stimulus displays used in laboratory conditions.

Although asymmetric colour matching has been widely used in experiments on colour constancy, an exact colour match between objects lit by different chromatic lights is impossible to achieve. We used a modification of this technique, instructing our observers to establish the least dissimilar pair of differently illuminated coloured papers. The stimulus display consisted of two identical sets of 22 Munsell papers illuminated independently by neutral, yellow, blue, green and red lights. The lights produced approximately the same illuminance. Four trichromatic observers participated in the experiment. The proportion of exact matches was evaluated. When both sets of papers were lit by the same light, the exact match rate was 0.92, 0.93, 0.84, 0.78 and 0.76 for the neutral, yellow, blue, green and red lights, respectively. When one illumination was neutral and the other chromatic, the exact match rate was 0.80, 0.40, 0.56 and 0.32 for the yellow, blue, green and red lights, respectively. When both lights were chromatic, the exact match rate was found to be even poorer (0.30 on average). Yet, least dissimilar matching was found to be rather systematic. Particularly, a statistical test showed it was symmetric and transitive. The exact match rate was found to be different for different papers, varying from 0.99 (black paper) to 0.12 (purple paper). Such a variation can hardly be expected if observers' judgements were based on an illuminant estimate. We argue that colour constancy cannot be achieved for all the reflecting objects because of mismatching of metamers. We conjecture that the visual system might have evolved to have colour constant perception for some ecologically valid objects at a cost of colour inconstancy for other types of objects. (C) Koninklijke Brill NV, Leiden, 2011

It is generally accepted that hues can be arranged so as to make a circle. The circular representation of hue has been supported by multidimensional scaling, which allows for the representation of a set of colored papers as a configuration in a Euclidean space where the distances between the papers correspond to the perceptual dissimilarities between them. In particular, when papers of various hues are evenly illuminated, they are arranged in a one-dimensional circular configuration. However, under variegated illumination we show that the same papers in fact make a two-dimensional configuration that resembles a torus. (C) 2010 Optical Society of America

Observers can easily differentiate between a pigmented stain and the white surface that it lies on. The same applies for a colour shadow cast upon the same surface. Although the difference between these two kinds of colour appearance (referred to as material and lighting hues) is self-evident even for inexperienced observers, it is not one that has been captured by any colour appearance model thus far. We report here on an experiment supplying evidence for the dissociation of these two types of hue in the perceptual space. The stimulus display consisted of two identical sets of Munsell papers illuminated independently by yellow, neutral, and blue lights. Dissimilarities between all the paper/light pairs were ranked by five trichromatic observers, and then analysed by using non-metric multidimensional scaling (MDS). In the MDS output configuration, the Munsell papers lit by the same light made a closed configuration retaining the same order as in the Munsell book. The paper configurations for the yellow and blue lights were displaced transversally and in parallel to each other, with that of the neutral light located in between. The direction of the shift is interpreted as the yellow-blue lighting dimension. We show that the yellow-blue lighting dimension cannot be reduced to that of the reflected light.

The dimensionality of the object colour manifold was studied using a multidimensional scaling technique, which allows for the representation of a set of coloured papers as a configuration in a Euclidean space where the distance between papers corresponds to the perceptual dissimilarities between them. When the papers are evenly illuminated they can be arranged as a three-dimensional configuration. This is in line with the generally accepted view that the object colour space is three-dimensional. Yet, we show that under variegated illumination another three dimensions emerge. We call them lighting dimensions of object colour in order to distinguish from the traditional three referred to as material dimensions of object colour. (C) 2010 Elsevier Ltd. All rights reserved.

Observers viewed two side-by-side arrays each of which contained three yellow Munsell papers, three blue, and one neutral Munsell. Each tit-ray was illuminated uniformly and independently of the other. The neutral light source intensities were 1380, 125, or 20 lux. All six possible combinations of light intensities were set as illumination conditions. On each trial, observers were asked to rate the dissimilarity between each chip in one array and each chip in the other by using a 30-point scale. Each pair of surfaces in each illumination condition was judged five times. We analyzed this data using non-metric multi-dimensional scaling to determine how light intensity and Surface chroma contributed to dissimilarity and how they interacted. Dissimilarities were captured by a three-dimensional configuration in which one dimension corresponded to differences in light intensity.

The color of any object in a space is correctly perceived only when an observer correctly understands how the space is illuminated, or in our expression when he constructs a complete recognized visual space of illumination, RVSI for the space in his brain. For the construction of the RVSI the observer has to perceive a 3D space that is filled with illumination and he needs to see objects and others in the space which we call the initial visual information, IVI. It is our supposition that the most efficient IVI is planes to surround the space and the present paper investigates which planes are more efficient than others. A gray test patch was placed in an actual room illuminated at 60 lx by a ceiling light and a small area around the test patch was additionally illuminated by a white, red, yellow, green or blue spotlight that works as a hidden illumination. When the only test patch was illumianted by the hidden illumination the subject judged its color in relation to the main room illumination, namely as high lightness, or colorful, but when planes were inserted within the hidden illumiantion area he could now know the existence of the hidden illumination and judged the color of test patch more closely to its original gray color. For eight different combinations of the inserted planes, namely the back wall, the floor and/or the two sidewalls, the apparent color of the test patch was measured by the elementary color naming to investigate the efficiency of combinations. It was found that the four walls combination that enclosed the test patch was the most efficient IVI. Among three element planes the back wall was most efficient, the floor the next and the side walls the least.